Crossing the Line

Avoiding ‘crossing the line’ is one of the conventions of single-camera shooting which comes under the umbrella of continuity. The ‘line’ is an imaginary one, drawn between the noses of two people as they look at each other. Providing the camera does not cross that line, shots that cut directly onto each other will match.

John and Jane are sitting opposite each other. John is on the left of frame and Jane on the right. These positions have been established in the first shot that was taken. Any other shot cutting directly onto or into that shot must feature John on the left and Jane on the right of frame, otherwise it would appear, when the shots are edited together, that the two people have changed places – in other words, they would have jumped from one side of frame to the other.

Single Shots

This convention is applicable even to single shots. An interview is being held with the interviewer standing out of shot, to the right of the camera. The interviewee is therefore looking foreground right (to the interviewer). When the shots of the interviewer are taken, he must look foreground left in order that his shot will match that of the interviewee.

Shots that Cut Directly Onto Each Other

Because this convention only applies to shots that cut directly onto each other the director should work out the coverage of a scene with care, to ensure that when the scene is edited the shots will cut together without crossing the line.

Exceptions

The ‘line’ can be crossed in the following situations:

1. When the camera moves during the course of a shot, establishing a fresh relationship to the characters;
2. When the characters move, establishing their own different relationship to the camera;
3. When there is a fixed point of reference for the viewer which is unchanged, i.e. a doorway;
4. When the size of shot changes dramatically from one angle to the next.

Both 3 and 4 are known as a ‘direct reverse’.

Dot in a line between people’s noses as they look at each other. Providing the camera does not cross that line, shots that cut directly onto each other will match: i.e. John and Jane will remain on the same side of frame as in the original and will not ‘jump’ in frame.

This direct reverse works. Why? They have their backs to the camera and the bride is on the right. Inside the church the next shot shows them facing the camera. Their positions are reversed.